Chris Fleming

Paolo Diego Bubbio

The interdisciplinary French-American thinker René Girard (1923-2015) has been one of the towering figures of the humanities in the last half-century. The title of René Girard's first book offered his own thesis in summary form: romantic lie and novelistic truth [mensonge romantique et vérité romanesque]. And yet, for a thinker whose career began by an engagement with literature, it came as a shock to some that, in La Conversion de l'art, Girard asserted that the novel may be an outmoded form for revealing humans to themselves. However, Girard never specified what, if anything, might take the place of the novel. This collection of essays is one attempt at answering this question, by offering a series of analyses of films that aims to test mimetic theory in an area in which relatively little has so far been offered. Does it make any sense to talk of vérité filmique? In addition, Mimetic Theory and Film is a response to the widespread objection that there is no viable Girardian aesthetics. One of the main questions that this collection considers is: can we develop a genre-specific mimetic analysis (of film), and are we able to develop anything approaching a Girardian aesthetic? Each of the contributors addresses these questions through the analysis of a film.

Mimetic Theory and Film

An examination of the philosophical notion of sacrifice from Kant to Nietzsche. In this book, Paolo Diego Bubbio offers an alternative to standard philosophical accounts of the notion of sacrifice, which generally begin with the hermeneutic and postmodern traditions of the twentieth century, starting instead with the post-Kantian tradition of the nineteenth century. He restructures the historical development of the concept of sacrifice through a study of Kant, Solger, Hegel, Kierkegaard, and Nietzsche, and shows how each is indebted to Kant and has more in common with him than is generally acknowledged. Bubbio argues that although Kant sought to free philosophical thought from religious foundations, he did not thereby render the role of religious claims philosophically useless. This makes it possible to consider sacrifice as a regulative and symbolic notion, and leads to an unorthodox idea of sacrifice: not the destruction of something for the sake of something else, but rather a kenotic emptying, conceived as a withdrawal or a making room for others.

Perspectivism, Intersubjectivity, and Recognition

Sacrifice in the Post-Kantian Tradition

Jeff Malpas

Do we really need philosophy? The present collection of jargon-free essays aims at answering the question of why philosophy matters. Each essay considers the central question (Why Philosophy?) from different angles: the unavoidability of doing philosophy, the practical consequences of philosophy, philosophy as a therapy for the whole person, the benefits of philosophy for improving public policy, etc.

Why Philosophy?

Maurizio Pagano

Alessandro De Cesaris

Hager Weslati

This book offers new critical perspectives on the relationship between the notions of speculation, logic and reality in Hegel's thought as basis for his philosophical account of nature, history, spirit and human experience. The systematic functions of logic and pure thought are explored in their concrete forms and processual progression from subjective spirit to philosophy of right, society, the notion of habit, the idea of work, art, religion and science. Engaging the relation between the Logic and its realisations, this book shows the internal tension that inhabits Hegel's philosophy at the intersection of logical (conceptual) speculation and concrete (interpretative) analysis. The investigation of this tension allows for a hermeneutical approach that demystifies the common view of Hegel's idealism as a form of abstract thought, while allowing for a new assessment of the importance of speculation for a concrete understanding of the world.

Hegel, Logic and Speculation

The interdisciplinary French-American thinker René Girard (1923-2015) has been one of the towering figures of the humanities in the last half-century. The title of René Girard's first book offered his own thesis in summary form: romantic lie and novelistic truth [mensonge romantique et vérité romanesque]. And yet, for a thinker whose career began by an engagement with literature, it came as a shock to some that, in La Conversion de l'art, Girard asserted that the novel may be an “outmoded” form for revealing humans to themselves. However, Girard never specified what, if anything, might take the place of the novel. This collection of essays is one attempt at answering this question, by offering a series of analyses of films that aims to test mimetic theory in an area in which relatively little has so far been offered. Does it make any sense to talk of vérité filmique? In addition, Mimetic Theory and Film is a response to the widespread objection that there is no viable “Girardian aesthetics.” One of the main questions that this collection considers is: can we develop a genre-specific mimetic analysis (of film), and are we able to develop anything approaching a “Girardian aesthetic”? Each of the contributors addresses these questions through the analysis of a film.

Paolo Diego Bubbio

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